Directoras - Mujeres en acción - T3 - E46 - Vanina Spataro

Episode Transcript

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Genre TAG The Gender Commission of ArgentineFilm Directors sponsors female directors in action third
season of the audiovisual GPS interview cycleof Julia Montesora Vanina Espataro is director and
producer of the image and sound careerof the University of Buenos Aires. He

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began his career in the year twothousand, acting as assistant director in film
and advertising, filming in Argentina,Spain, Chile, Mexico, Uruguay,
Colombia and India. She is aproducer and founding partner of Quino Film.
Independent producer based in Buenos Aires,participating in the festivals of San Sebastián,

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Toulouse, Rotterdam, Warsaw, Nantesand the Mar del Plata International Festival and
in markets such as the European EnfilmMarket, in the Berlinales and Ventana Sur.
She is a member of the Commission, a directive of the Women and
Film Association and a general producer ofits shipwreck festival Es. His debut as

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a manina director, which was foryou the cinema the first time you went
to a viewing room. I comefrom a family story. My grandmother I
was born in Rio Cuarto, mygrandmother had was president of a cinema club.
Then the cinema at home was likemore than the, that is,

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all the art had some interference,that is, the theater as well,
and I think that the cinema knewit from my grandmother' s hand,
not only movies that were not easilyaccessed, but movies that maybe I saw
before time and shocked me enough Andin fact, before I started studying cinema,

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I already frequented the hebraic, thecosmos, the lugones from my grandmother
' s hand. I think laterin adolescence. It' s a process
that didn' t drive me awayfrom the movies. He found me again
then. For me cinema was likea communion between two women, like finding

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something that united us, that wasnot of everyday life. It was something
extraordinary and it was like a secretalso because we were alone. The room,
the light went out, they toldus a story lived, things I
didn' t yet imagine existed,that is, some naked, some couple

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conflict at that time. I don' t know Berman' s movie theater
was there. Then they were likethings that attracted me so much and at
times they also caused me rejection.But all the time fascination. So there
was a clear family influence. Yes, a clear influence from my grandmother,

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beyond that I think that the generationof the seventies was mostly film fil in
Argentina, that is, cinema wasan obligatory program as it was. I
remember the exchange of books between mymother and her friends and I don'
t know why the culture in myhouse always passed more on the side of

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women than of men, perhaps becausemen were, as at that time,
more destined to earn the money andwith other concerns in mind and had time
to spend the last books. Ormy grandmother, who worked hard and was
a school principal, gave her timeto be able to show films in the

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city Rio IV that reached us tothe cinema, so yes, river forts
and there you were. I wasfirst there, I mean, I was
the first granddaughter in the family.Then I was a little bit of a
mascot and I knew that I wasbeing good because they were taking me everywhere

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Now, that attraction that cinema exercised, that fascination that cinema exercised at that
time in voice had some correlation withthe later path. When you decided that
you started to think of cinema asa job possibility and I first, that

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is, as less as a spectator, or as a spectator. I don
' t know if at that momentas a spectator, that is, before
I was twenty, before I wastwenty, yes, but that I,
at that moment as a spectator,was thirteen fourteen, fifteen years old,
I don' t know if Iwas profiled to say that' s what
I want to do. Yeah,it happened to me, it' s

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just that later I took a filmcourse at about eighteen with fareta, which
was also the smallest one with AngelFaretas the smallest one of that course.
Then and then Pacho Donnell' sopen school opened and I also took a
film course. There still not knowingwhat he wanted to study. Then I

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got closer, I don' tknow about concerns, and then I went
to study Social Communication to the Savior, as I said, well the media
and I did two years. Thereand just opened the grape, the sound
image race and I scored and Kiokofman, who had been my teacher in open

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school, told us that look thata race was opened. They' re
interested and I went to the grape. It was not that one day I
decided it was as part of myeveryday life, I was interested in cinema,
I read about cinema, I watchedcinema, I thought that out there

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I would have a career, havea career of communication rather than of cinema,
and well, the grape called meand there I ended the race.
And there, when I was alreadystudying, I started working in cinema.
And so it was, I mean, I started working on TV first,
then I did a lot of publicityand then in film, that is,

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it' s like as job opportunitiesgrew, they were presenting themselves and it
' s like it' s acurl that got me caught. It was
also taking you and you thought asdirector of that first, yes, in

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those first practices, in those firstprofessional works, in the professional works,
not really, when in the faculty, when I did all the works of
the faculty, I almost always directedthe short ones And when I started to
work, I had some ease forthe computer, because I worked a lot

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at MAC and at that moment theABBITs began to enter Argentina and that ease
started that I was filming and ifit was the logging that was called at
that time of certain series that weremade cinema type, then I started in

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assembly, that is, I didwhatever I mean. That' s how
they offered me. I don't know. I started as an assembly
assistant, did some series with JoséLuis Masa El Arcángel. I don'
t know, I don' tknow. Then I was in Aries working
more directional tente, doing Laurisoe andthen I went to advertise. And why

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advertising was more profitable than cinema,because maybe I think it was because film
works are not decided, they callyou, you can decide them. I
' m not saying they don't decide, but it' s how

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it' s about a lot ofthe links that you' re forming and
out there a director you met somewheregoes somewhere else and they call you.
I was a lot of directors,I mean, I worked pretty much as
a management manager and before I startedproducing and the directors were changing jobs and
they called me ada banina, Idon' t know what. In fact,
when I was advertising, I traveleda lot because when the directors were

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going to film outside they could carryvery little equipment. They almost always take
the director of photography and he isin the direction to assemble equipment. I
filmed myself quite outside as an assistantdirector who was on behalf of the Argentine
team. But that' s whereyou were beginning to imagine yourself as a

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director or I think I am alwaysas an assistant director rather than being a
director' s ascent as much offilming. It was like one of those.
Now there' s that figure.It didn' t exist before,
which is the one that creatively developsthe script. I mean, the scripts
came in and said good beard thatyou imagine seeing you look for some references

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how we can do it. So, I mean, I was given as
a creative permission within that structure andit was like a little bit of playing
directorship, but I don' tknow why I never jumped and then,
I mean, you' re growingup. And if he didn' t
jump, I mean, it's like coming from producing it' s

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very easy for me. Also produceI have a certain ability to and as
I have a lot of set aboveto realize that it is necessary for a
film to be made with the leastindispensable, as happens many times in Argentina
not to design great productions that Ihave not done, but yes or to

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manage resources for what the scene needsand also to be able to design films
so that they are carried out ingood condition with the necessary elements and know
where it is put and where itis taken. So I have a certain
skill and, as Ana María Mutchinsays, Vanina tells me, it may

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be true, that is, Ihave as this stubborn thing that if something
does not exist or is not given, go for that resource to look for
it and that it happens is likean innate capacity, a producer. Yeah,
a producer, so I have likethat, like I have both.
In fact, the movie I directedas a peraprimist. I' m the

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producer too, I mean, Ihope at some point I can let go
and do one thing or the other, because the two things are complex,
it' s demand a lot ofhead. The other day I was listening
to a venezule bull interview that saidthey ask us for strength, that is
to say we have to do asa soldier to produce and then they don

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' t ask for the pen andthe spirit and the heart to transmit as
directors. Movies are hard, it' s not this one. He said
the natural thing about a movie isthat it doesn' t exist. So,
for a movie to exist, youhave to put a lot of claw
and a lot of heart. It' s a mixture, it' s
a titanic task, not to mentionresources, that is, even with all

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that resources. Sure, sure,sure. Now you' ve ever felt
or felt or felt that the roleof director was incompatible with the status of
woman, not directly, but indirectly. Yeah, and I found out and
found out after I didn' trealize it at the time. In fact,

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as a producer, also projects thatwere not for not going to look.
This is how we all have tosleep in the same room. It
is quite difficult that I saw,as I said better you do not come
and as director and as assistant directorto put the jump to director, I

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had as several times conversations with producersthat well, now it will touch you
and it did not touch me andI have lived projects that at some time
I worked for a producer called CHAGALFilmby José Luis Masa that would be many

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works for telefe, openings of programs. We worked a lot with the openings
of little girls and there were smallprojects that I did manage but when the
projects were bigger, there were othercompetitors and maybe at that time I lacked
the aplomb or the temper that Ideveloped later for the yes I can and

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everything can and there is, andthe presence of male companions were rather to
gain ground, that is not openly, but if you saw it is like
that yes in a bad evening wayand that false I take care of you

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or it is not for you letus go, that is we are taking
care that maybe unconsciously also thought it. But this one I do not believe
that today those first steps would havetaken in any other way, but with
today' s experience, at thattime I did not have it. But
I never felt that I had animpediment. But if the medium at some

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point veiledly accommodated you in a placethat they believed was the one that corresponded
to you clearly and in what circumstanceyou turned towards production, you started to
work in production, that I wasthe first work of everything, that is,

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the first thing I did was post- production, that is, I
was in charge of post- productionof a film by The City of God,
by Víctor González. We had tomake an extension of sixteen to thirty
- five in Duart and I wentto do that. And then that director
also had a second film and thereI played the role of assistant director and

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producer, that is, of thesame film. It can be like project
development. Then, naturally, Ihad and then with him I founded the
love story producer in between, sinceI was, but I made the way.

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I got out of being a managementassistant to an executive producer I didn
' t do the production ladder.So, that' s why maybe the
vision of how to manage resources andwhat it takes to make a movie.
Over there I focus it more fromthe side of the direction. But then

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the universe of let' s saythe business part of how to put the
movie together turned out to be evensimpler than it is all that needs to
be done. Profile because, inother words, having training and managing relationships
and contacts, you can build afilm with a co- production. I

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mean, they' re steps tofollow. But I think that for me
big producers are those producers who canprint on the project. It is their
part as producer that it is notonly the one to bring money closer to

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resources, but a little to amassthe resources that there is to make that
project flourish. And I think there' s a creative production there that is
very interesting that a little I don' t know. Today there is like
show ra, there are a lotof other places within what is production or
creative director, within production that beforethat role was not. Surely someone was

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fulfilling it. Or project developer thenat once. Today they have titles whenever
a role is not when a newrole appears, first there was the need
or someone did it without clear titleand then it was divided. But yes,

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well I thought about all this thatyou are counting and I say but
you were already making all that clear, that is, in those beginnings you
didn' t start to make itclear exac then a role But yes,
yes, yes, to that specificityof production. Not now was the average

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internal step of production to be director. No. No, no, no,
no, it' s got todo with it, it' s
a road that I found and myway I don' t think it'
s necessary. I have seen manyNobel directors without any work in previous production,

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excellent and vice versa. So,Argentina has a hard time making movies.
And with this that for a filmto happen it takes a lot of
will, that many directors end upproducing their own films because it is the

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way to be able to realize them. There' s a lot of producer
director. Yes, yes, yes, almost all, almost all. It
would be and and we all wishthere were another producer who would come and
tell us what you need to film. I make you clear, well,
I don' t know if allof them give me the feeling that it

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would be more difficult for them toresign, because that' s where this
author thing starts to mix, notthe author. But I mean, there
are different ways to take a projectforward, whether you' re a screenwriter
or not, or you get ascript and appropriate that script and find your

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way of narrating it. If youadd up script if you add up production
and you add direction, this oneI don' t know if I would
have to try, but I thinkI would have my head quite freer and

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with quite more time than many timesone producing comes as very fair, with
that means because resources and rewriting,because you yourself are taking scenes and rewriting.
You have to be a judge anda clear party and not be able
to complain or demand from anyone thathow is not what I need. Well,

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that' s what I was goingto ask you, how do you
share, because in shipwrecks you're a director and a producer. Also
on your partner' s premium bar, and that' s where it was
friendly. It was hard for thedirector with the producer. I think they
didn' t fight each other,but they were two strong figures, that

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is, they were two devils oneon each shoulder. They didn' t
fight. But I think that ifI had some tucias, it was to
have looked for producer partners that forwhat was filming, were crucial so that
I, at that moment see takeout the production suit and could direct.

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In fact, they asked me totake it out long before I could get
it out of me. I thinkif I learned something, it' s
that when you have to take offthe producer' s suit and put on
the director' s suit, theproducer' s to complain about it hanging
on the chair and you only putit there an urgency, but not be

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so careful, because there' sa lot to think about, a lot
to be able to analyze while you' re filming, not lose the focus
of what you came to tell,how you were going to tell him.
There is a clarity that must notbe lost. You' re the only
person who' s understanding whether that' s working or not. Whether you

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' re getting excited at that momentor not, then this one if you
find out that lunch is late,you' re getting a little bit focused
on whether that scene is in theemotion you' re looking for. Maybe
I' m just like that.Did I learn a lot running? Did

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I learn a lot? Leading?I learned a lot being my own producer
It' s so long the timesin cinema that one should be able to
film the number of films that Kurosawafilmed. If you analyze the first and
the last, there is a growthand of all the directors who have made

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many films you see the arc.I say don' t forget what you
learned until the next movie, makeit a little faster. Anyway, I
' m kind of scared that everybodywould say no to you. The first
is the fast being where it saysthe problem of the second is the myth

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that the second film is harder toachieve that or paraprimist always has as a
certain star of what it will telland that the second one we say we
already know, but well, wewill break the myth. Sure, we
' ve been tearing down myths.That will be another to bring down this

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justly good shipwreck. So it's the beginning of a career, a
career as a director, a careeras a director. In principle, it
is the idea to see that itgives us our reality at our present juncture.
But it is the idea not tostop producing, because, in fact,

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I have several friends directors who haveprojects and who I would like to
be a part of. I liketo choose projects and I also like to
empower women who lead. But yes, I have a boat, that is,
the day I finished filming the nextday I got up while I was

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drinking mate and looking at the beachin the distance, already without sand and
without the wind eating my ears andsaying so, that is, that'
s what I want to do.I lied, I felt good. Then
there' s the assembly table.And the fights with yourself, if you
did, you didn' t achievethe goals. I mean, that'

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s already an internal conversation, instanceanother instance, but I felt solid,
felt good, felt comfortable and feltlike I was making a place I want
to be now. What role thegender look played in the writing process and

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in the concept of the film.That' s a good question. I
think, I mean, the genderlook is already inside me and I don
' t play if I should putsomething beyond my emotion about what I think

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of things. Just today I readsomething following the death of Sara Facio,
who had published Marcos López and whosaid Sarak a photograph is not to express
an idea, but to show afeeling. I believe that gender, through

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me, goes through the emotion ofthings more than emphasizing that it is right
and that it is wrong. Forexample, when the script underwent a lot
of modifications from writing, from thechoice of actors and then filming, when

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I had a character who was atransgender woman in the film, who had
written with certain characteristics and when Ilooked for the actress to represent him,
I met my lover and said itis the act I want to work with.
I talked a lot to her andin a moment she told me I

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don' t want to. Shetells me what I' d really like
is to be called for being anactress, a trans woman person and I
started as I was working with her. I said I, because I have
to tell you that this woman whois in this place and on the beach
and the circumstances that she lives,what her past is and it was erasing

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that then, there, instead ofincorporating it to the limit, you understand
the inclusion of the trans woman thatis, what I did was expand the
boundaries and that she would enter intothe story without having to account for why

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and how she is a woman,because I wouldn' t ask any male
either So, I mean when wetalk about gender. There I think I
was educated, I grew up withher. And I also believe that when

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I build a male like Esteban,who is the co- star with sophia
for at least the film, whois a painter who is not quite macho,
but yes with a structure and alord of chizuenton and with a formation
and an education that does convey thatAnd yet, also Alfonso, who is

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a baron quite deconstructed at once,offered me a tenderness of that character that
I found. I said clearly Ialso mean, I have male friends of
that age who were formed and wereeducated in a certain way that try to
understand how the world was changing,that they cannot completely deconstruct themselves. But

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if you listen and if there's a meeting, I can' t
ask you to bring down everything youheard. So I said there you have
to mean, I find that asan emotion that you can get excited about
the story of Miamar that is,and accept that it is a woman without
saying how it happened, how itwas. You can write a movie about

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your course because it' s awesomeeverything you had to suffer to get to
where you got there and stand firmand say I' m an actress,
but you' d be in anothermovie by now. I' d be
in another movie. Then, ofcourse, I incorporated the genre into this
film. I incorporated it from howwe relate each other to the story we

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live with. But in a worldwhere tenderness. I think the other day,
when I was finishing the movie andI said how tender. If there
' s an emotion that transmits me, it' s tenderness and I don
' t know if I imagined itwas so tender. And that' s
where I started to sweep out certainlayers that were attached to me and I

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think that signing in Uruguay, wherethe level of maybe itself is a little
lower. The frictions between beings too, i e they greet each other,
there is something very funny, whichis when you go and say chau and
tell you to have a good time, and it' s not just that

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I said, as a woman fromBuenos Aires and working in the industry,
I had to strengthen myself, Imean, there' s a lot rougher
than what was barine. She hasa layer after layer of a suit that
she must be very armed to makecinema, be a woman product at a

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festival, talk about the same withproducers and when I started working from the
inside, I started to find asoftness that I had already forgotten and that
speaking legacioning with if I had somebarriers to lead as a woman what I

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did, I found a lot ofthat entanglement that, as a woman,
you have to transform yourself into alittle dry person. It' s because
there' s a lot of frictionfor many hours, a lot of men.
Then you saw how to make yourselfthe place of respect to some degree
of masculinization, it would be me, yes, you have to follow half

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a machito to be there. Then, when, when I was the one
above everyone, if I could doI found a much more loving place.
So I think that loveliness that gaveme filming the film and that I find
in the film is also of genre, of course. But it' s

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not that women are soft, it' s that we can afford it.
I have a saying with some friends, that' s when I' m
going to have lunch with friends,that' s where I switch tables three
times in a restaurant. We likeit here not, we like it here
you like the window already. Thewindow' s cold. Let' s
go somewhere else I could never geta man to sit down and change his

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mind on the go. They are, in any case, much more rigid.
I find them in decision- makingand in disabling decisions. And my
way of being, that it's listening and being able to go back
and back and back, being ableto undo what I said without having to

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apologize about it. It is away that I find it much more feminine
somewhere clear, sociéfila you see cinemain the cinema, or it is already
a lost cause less and less ahaor yes, because it is of medium.
I go to a lot of premieresand I see five in the movies

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and when there are certain films thatare released, I say this one.
I don' t miss it inthe movies, but I watch movies not
even on television, on the computer, and I made it with the computer.
Computers and I are almost one beingIt' s an extension extension.
It' s an extension. Soyes, I became quite cinéfila also of

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plasma, but I share that theexperience of cinema is not the same as
the experience of the computer. Thescreen size, the surround sound, getting
out of your comfort spot and sittingdark in a place with lots of unknown

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people, sharpens the perception of themovie, that is to say we really
devour content today. Yeah, Idon' t know if we watch movies.
I' m a content eater outthere, that' s because I
can watch three movies a weekend andoften forget them as fast as I'

(33:57):
ve seen them. On the otherhand, the perception of cinema leaves images
imbued with emotions that are not soeasy to erase. Okay. I imagine
that, above all, now thatyou directed a film to be premiered in

(34:21):
cinema, you will not have foundanother plus of the cinema experience there as
well. Yeah, I think themovies are very different. It depends on
when you see them, where yousee them with whom you see them.

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It happens to me with my ownfilm, which, for example, in
Malaga I had a perception, inMontevideo I had another perception. Here,
when it premiered in El Malva,I had another perception. It is a
communion the cinema, that is,that there is a laughter behind someone you
do not know, it enables youto perhaps to a scene that you were

(35:07):
not getting too much into to aflationand to say ah yes we have the
same sensitivity that is. Or thereare like certain surprises in viewers that you
share with people you don' tknow and that enable you emotions. I
mean. I have gone out thecinema crying in other films you understand and

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cross that unknown face of another person, with eyes glassy at once. There
is a magical moment of communion thatnever happens to you clearly. Of course
this one. So, as muchas I became in the vaguest time to
go to movie theaters, I thinkwe don' t have to lose that,

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because it' s really another emotionand another sensitive one. It'
s another movie. You wonder whyyou make movies, why I make movies.

(36:13):
You don' t know I don' t. I wonder why of
many things, not just why Idon' t do it, but I
' m a pretty impulsive person.But I think I mean, I think
that that thing that told you thebeginning that for me cinema since very young,
had to do with intimacy. Ithas to do with intimacy. It

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' s almost like the psychologist,it' s an intimacy that you don
' t tell anyone what' swrong with you. I' m telling
you, even with movies that Idon' t consider excellent movies, I
' ve had emotional revelations, forthat matter of profound saying now I understand

(36:58):
why it happens to me or understandemotions that I' ve had that out
there were two years of therapy andthat a movie reveals to me and I
tell myself ah to me too.And there' s something that happened to
me. The first time I startedgoing to a set and went to work,
I came in from seven in themorning and it was a scene of

(37:23):
a brothel at night a scandal andI told you, but I came this
guy coffee and it was all seenand so there were explosions and there were
things and things and things. Andwhen I left at seven o' clock
in the afternoon of Filmar it wasin Ronda Studios. I said ah this

(37:44):
is more fun than going anywhere else. I mean, over the years,
he understands that it' s ajob and that it' s tiring,
but at that point, the fascinationof allowing himself to play as an adult
was very strong. There' ssomething about hacking reality into making movies.

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You saw him get permits. Youhave the permission to cut the street,
you have the permission to do dayby night, you have the permission to
change the period. You have permissionto fall in love with anyone you want.
There' s something there that Itell you that even offers me as
a certain joy as a child,the power to say ah so you can

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' t. Well, I doit in a movie and then a wreck
came in. So there was awreck. I don' t know if
he says everything he wanted, butI had some just because Vania did.
Thank you so much for sharing yourexperiences with us. Thank you very much

(38:57):
for the invitation. Well, theoperator' s gone. It occurred to
be no. What happens is thatthis one here is also independent of everything.
So, well, we' reall in a lot of things.
There' s a lot of stuff. Not the operator, but the one

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who came before, the big guythat I beat sora who is one of
the real owners. Of course I' m telling you, if it wasn
' t for your show, youunderstand a half of it. I can
' t see. No, no, no, me when I mean?
I mean? Open up? Imean, what do you mean? Before
someone calls me that such a festival, someone won a prize, you understand

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I come in and you have alreadypublished everything and I say the phase you
saw. I say yes, thereare two of us, no more,
well, there are three of us. But it' s a lot,
it' s a lot of work. I know that this information has been
taken, that is, the collector, ordering it, censoring it. That

(40:05):
' s right, that' sright, that' s right, that
' s right, that' sright, that' s right, that
' s right, that' sright, that' s right, that
' s right, that' sright, that' s right, that
' s right, that' sright, that' s right, that
' s right, that' sright, that' s right, that
' s right, that' sright, that' s right, that
' s right, that' sright, that' s right, that
' s right, that' sright, that' s right, that
' s right. We produce,pre- production interviews, radio show,
well, podcast. That' swhy I have all these machetes myself because
they are. But it' salso good to do the kind of journalism

(40:32):
I like. It' s freeof any medium you notice. Yeah,
yeah. It started to happen tome in the paper, in the nation.
Yes it could be labor, obviously, because after thirty- fifty years
of profession. Yes, you haveor have an office, you have a

(40:55):
job, of course, but Iwas getting really bored and that' s
where I started getting into these newmedia. I' m telling you,
it' s traditional journalism, butof new media now with the topic of
YouTube channels, that is, YouTube, which has existed for years, yes,

(41:19):
and now suddenly, there' sa generation that' s ordered and
started producing its own content. Yes, which often replicates the content, but
as now the media becomes less andless, permeable to independent professionals. They

(41:44):
find different places, that is,the other day of life, it was
heard by Black Bernassi herself, ona channel of stars, on a streaming
channel, has a program then andpeople of different generations. There are things
that are flaky. Either I'm old enough to put up with this
guy, so I don' tknow what it' s like, that

(42:07):
' s me growing up with bangcock radio He didn' t surprise me.
So it was crazy, yes,terrible, but with a tremendous level
of sophistication he doesn' t callme. The attention is that they come
together to do this. I don' t think it' s crazy what
they' re doing. Yeah,there was going to be no reso.

(42:29):
We should not re- float thosehalo programs, because they were really wonderful,
I mean, what marked the rockin Popa at that time with the
halo programs were absolutely effort. Yeah. Yeah, yeah, I mean,
I lived listening to that and Icouldn' t believe the madness. Yeah,
yeah, yeah, yeah, yeah, and there' d be no

(42:49):
heads. I just closed my head, no, but I mean, I
don' t see them. Ithink that the traditional media will gradually lose
power very easily. There may begenerations that are no longer going to be,
that no longer buy the paper diary, not that read the diary through
the newspaper page, but that blendsinto networks and when you want to inform

(43:14):
yourself, you go to specific journalistswho have their channels you understand, that
is, you trust that more thananother, that is, the diary.
That' s right, yes,they started playing other interests and well,
I always say to myself it startedboring my work in the newspaper when I

(43:43):
well saw that I didn' tunderstand what was going on, what they
were asking me. You understand me, I trained myself. I don'
t know looking for the information,checking, trying to produce, but making
notes from a click of a trenddress or well, that kind of thing

(44:07):
or summary meetings, that you didn' t talk about content dress was just
talking about these things. You don' t have to generate clicks. You
have to generate this more important era, the title and that you start the
note that if the note had somethinginteresting, this later if I tell you

(44:31):
that is why you either me orby the diaries or it is a panning
of the notes that there is andit is almost no longer click because you
already know that it will deepen usanywhere. Yeah. Yeah, yeah,
yeah, yeah. Me. Iremember that the last festival that I covered
in San Sebastián, which was good, was before the pandemic of two thousand

(44:52):
nineteen that was discovered for the newspaper, apart from that I gave it to
me they gave birth between the printededition and the online edition, because they
were two different looks about what theywanted. They didn' t even know
what he wanted. But I remembermy editor, at one point she told

(45:15):
me that well, that I hadto make red carpet and that, for
example, it was important what dressPenelope Cruz had. I didn' t
give him five balls. Of course, I didn' t lose sight of

(45:37):
it being not having to make anopinion of the movies, but a little
more color. But I looked forthe color differently. I understood I wasn
' t willing to stand there likea jerk and tweet it. I didn
' t even give him five ball. I had a bad time. I

(46:00):
had a hard time, because Ifelt like I could cover other things and
I wasn' t doing it becauseof the demands of this mine. You
saw. Yeah, yeah, yeah,